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Evan Lee’s series of paintings “Fortune Happiness,” 2018, is distinguished by long shadows and listless figures that might be found in Edward Hopper’s canvases. But in Lee’s work, these figures are placed in city sites not pictured by his predecessor: salons, food courts, Chinese restaurants. His figures seem isolated, but they are never really so—heads down, they are entirely absorbed in their work, or in the screens of their phones.

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